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Our Lady of the Founders, Mt. Athos, Greece
Commemorated on August 31
On August 31, Orthodox Christians celebrate the feast of Our Lady of the Founders, where the relic of the Holy Girdle venerated the belt that is used and that the Virgin Mary is in the state that Vatopedi Monastery on Mount Athos.
In Prato in Italy also says it that relic, but this time from the side of the Catholics.
In both cases, tradition has it that the Virgin gave it to the apostle St. Thomas.
History
The venerable and gracious Belt of our Blessed Virgin Mary, who is in the Holy Monastery of Vatopedi in Agios Oros (Mount Athos) is the only precious memory that remains of his earthly life.
According to Sacred Tradition and history of the Church, the Holy Theotokos three days after she fell asleep, rose from the dead and ascended to heaven in the body. During his ascent, she gave her Holy Belt to the Apostle Thomas. Thomas, along with the rest of the Apostles, opened the grave and found the body of the Holy Theotokos. Thus the Holy Belt is the test for the Church of the Resurrection and the bodily ascension into heaven, and in a word, in its metastases.
The Holy Belt, according to tradition, was made by the Blessed Virgin Mary with camel leather. The Empress Zoe, wife of Leo VI the Wise, in gratitude for his miraculous healing, Belt embroidered with gold thread, as seen today, but divided into three pieces.
At first I was saved (kept) in Jerusalem and later in Constantinople. There during the XII century under Manuel A 'Komninos (1143-1180) the official party for the Holy Belt was established on 31 August. In the end, the Emperor John VI Katakouzinos (1347-1355), who had a special love for the Holy Monastery of Vatopedi, for the many graces received there, donated to the Monastery Belt. Since then the Holy Belt is recorded in the Holy Monastery of Vatopedi, in a silver box latest manufacturing represents the Monastery. In the bottom right of the box containing the relic, the artist made the drawing of the donor Emperor Katakouzinos meaning your donation to the monastery.
Numerous are the miracles that have happened so far with the Holy Belt. Their value is incalculable because it is associated with the Blessed Virgin Mary. The Holy Belt is kept in perfect condition because it was in contact with the person and life of the Mother of God and the saints because they carry spirit during his life, and believe in the things they used also after Death.
The same phenomenon is mentioned in Scripture as objects that the Prophet Elijah and the holy Apostles used and caused miracles, because they had lived grace by them. For this reason the Church allows an honorary devotion and Madero is the Holy Cross of the Lord.
The Holy Belt has the unique grace to cure infertility in women and cancer patients by means of a tape that has first been blessed and touched the belt and is subsequently used by the barren and sick women.
OTHER SACRED TRADITION ON BELT
According to another tradition, the Holy Belt of the Virgin Mary-a cloth green wool of about 90 centimeters long, with small strings end to tie-would be identified with the belt that Mary had given St. Thomas in his ascension Heaven.
The consolidated the legend thirteen-century-established that this relic was brought to Prato, Italy, around 1141 by a merchant named Michael, who married in Jerusalem and was given as a dowry for the wife's mother. Once he was back to his homeland, Michael kept it secret for years until his death in about 1172, when he gave it to the Parish Church of San Esteban who still retains.
The Sacred Belt was recognized as a holy relic by the ecclesiastical authorities. Therefore, this became an object of veneration and worship, whose fame soon crossed the gates of the city, attracting believers and pilgrims from distant places.
Among many devotees, as there are sovereign Louis II of Angevin, King of Sicily and Jerusalem, who came to Prato for political reasons and gave tribute Sacred Belt of the Virgin Mary, as Francis Gonzaga princes and distinguished people like Matthew d'Humières Ambassador Charles VI, who requested a special permit just to see the precious relic. The above figures were all guests of Francesco di Marco Datini and stayed at his residence.
Being a sacred object with miraculous powers as well as the heart of the loyalty of the city and public spirit, Belt helped the local clergy to enhance their prestige and independence to the Bishop of Pistoia, whose diocese included Prato, and was also used to develop the identity of the city to outsiders.
An attempted robbery occurred in 1312 and ended tragically with the public execution of Ser Giovanni di Pistoia Landetto called Musciattino who wanted to steal the relic for sale to the Commune of Florence. Theft have decreased the prestige of city
The relic of the Virgin Mary was not only a religious symbol of the city, it was also a clear testimony to the common aspiration to share a collective identity. This is the reason why the belt failed in its history involve not only the local church and the popular sentiment but also to the civil authorities of the city.
City officials - to preserve the Sacred Belt, considered a common heritage for the whole city - published precise provisions and stricter laws for safekeeping, developing methods of access to the relic said the presence of both clergy and city judges. After the attempt to steal the relic was built an extension of the Church, a special chapel, in order to safeguard the Belt.
Even the ceremony of their exposure to believers during September-Party happens the 8th of the month dedicated to the celebration of the Nativity of the Virgin Mary and representing the highlight of the celebration, was governed by the City Charter.
Description
Before ascending to heaven, the Virgin gave her girdle to St. Thomas, through a series of events ended up in the hands of a neighbor of Prato that pales married an
heiress tub enclosure.
Five times a year the representatives of the church and town hall meet and take the relic is kept in a cupboard under lock and key. The priest shows a relic people gathered in the square from a curious move balconcillo work of Donatello.
CATHEDRAL OF PRATO
Prato cathedral, Duomo di Prato in Italy, dedicated to Saint Stephen, located on the square of the Cathedral of Prato, Italy.
The cathedral is one of the oldest churches in Prato. Evidence of their existence was already in the tenth century as "parish" of St. Stephen. It was the main church of Borgo al Commius, primitive area of Prato. It was restructured from the tenth century to the fifteenth although its architecture is unitary due to the purity of its color print volumes and external ornaments using green marble (serpentine) of Prato.
The current structure is from the twelfth century (left side and campanile) under the last cell built in 1356. During the fourteenth century, due to the increasing popularity of the relics of the Holy Girdle (believed to be the girdle worn by the Virgin Mary).
This relic is in the city since 1141, according to tradition. The building was extended: first transept was built (perhaps from Giovanni Pisano project), then the chapel was erected cingulate. The buildings that were before the facade was demolished to create a new space that will host the crowd that gathered during the ostensions Relic.
EXTERNAL PULPIT
Despite the additions and changes that have occurred during the time the appearance of the cathedral is unitary.
Gothic slow facade (1386 - 1457) was built to shelter but not stuck to the old: in the space corridor that leads to the external pulpit, built by Michelozzo and decorated by Donatello, between 1428 and 1438 was created. The pulpit was made to publicly display the relics of Cíngulo that still exposed on Christmas, Easter, 1st May, 15th August and so solemn on September 8, the feast of the Nativity of the Virgin Mary .
Bronze capital on the pulpit, a series of concentric made of white marble cornices accentuate the centrifugal effect of the pulpit, the parapet (the original is in the Museum of the works of the Cathedral of Prato) resembles a temple within which groups Angels give lively turns, the crown canopy pulpit.
On the window above the main door one glazed terracotta by Andrea della Robbia depicting the Virgin Mary between St. Stephen and John (iphone Prato and Florence) was placed.
On the right, restructured environment to 1160, two enriched by inlays (symbols that have not yet been elucidated) portals and campanile tower with early thirteenth century (attributed to the Master Guidetto and to start working as flyover . Lightened by ajimez that are far more extensive in the penultimate sequence concludes with a gothic triforas large cell, added in the fourteenth century, as the transit block, resting on the campanile.
INSIDE
Also within the temple has a unitary appearance, even though there have been numerous interventions over time. The three Romanesque naves of the early thirteenth century are divided by wide arches resting on columns made with green serpentine attributed to Maestro Guidetto capitals. Above the arches the walls retake alternating colors.
The ship left the elegant Renaissance pulpit made of white marble (between 1469 and 1473 shaped chalice and enriched by sphinxes perched basis. The parapet is embossed Antony Rossellino tracks of the Assumption, the life of St. Esteban, stories of John the Baptist (the latter performed by Mino da Fiesole. Given the opposing ship, there is a brass candlestick Maso di Bartolomeo, 1440, in the form of elongated plant leaving seven stelae glass. Maso also conducted internal terrace in contrafachada having an Assumption of David and Ridolfo Ghirlandaio.
In the chapel of the Holy Girdle is a small wooden crucifix and strong expressiveness by Giovanni Pisano.
TRANSEPT
After climbing some steps of the old church will reach the transept of the fourteenth century, traditionally attributed to Giovanni Pisano.
In the center of the chancel are three important works of American Robert Morris: the marble altar (2000), the chandelier and the ambo (2001) bronze, whose shape tunic with stones at the base recalls the stoning of Esteban.
In the right transept is the tabernacle of the Renaissance Madonna dell'Olivo, brothers Da Maiano: Madonna with Child (1480) terracotta by Benedetto.
The presbytery balustrade made of colored marble, the seventeenth century, reuses some renacimientales forms with shields and cherubs of the old choir, and gives access to the chapels.
A cappella Vinaccesi right the deposed Christ retains a remarkable thirteenth century, and is adorned with frescoes of the nineteenth century by Alessandro Franchi.
Adjacent is the dell'Assunta cappella, with frescoes of 1436 made by the Master of Prato and Paolo Uccello with Stories of the Virgin and St. Stephen, supplemented by Andrea di Giusto at the bottom, showing an extravagant fantasy enchanted scenes with defined and vivid colors, elegant graphics and architectures brunelesco taste.
In the cappella maggiore, behind the altar of the Crucifix bronzeo Ferdinando Tacca (1653), the walls have frescoes Stories of St. Stephen and St. John the Baptist, completed in 1465 by Filippo Lippi. Below left are the Funeral of St Stephen, set in an early Christian basilica. Pope Pius II has red ornaments and left a self-portrait. In front, on the opposite wall, a lounge hosting the Banquet of Herod and the Dance of Salome and the delivery of the head of the Baptist to Herodias. The window was also designed by Lippi. Also participated in the cycle Fra Diamante.
The adjoining Chapel Manassei was painted in the early fifteenth century with Stories of St. Margaret and James for student Agnoldo Gaddi, while the last chapel on the left, the Inghiramos retains a funeral monument attributed to Benedetto da Majano and Stained Glass early sixteenth century.
A left transept is the Chapel of the Blessed Sacrament with Poggini Zanobi altarpiece (1549) and vault decorated in the nineteenth century.
CHAPEL Holy Girdle
Altar of the Chapel of the Holy Girdle of the Virgin and Child by Giovanni Pisano
Chapel of the Holy Girdle is in the last part of the left aisle, in contact with the counterface.
It preserves the Holy Girdle, ie, the belt that, according to ancient traditions, was donated to St. Thomas the Virgin Mary during the Assumption and came to Prato in the twelfth century.
The chapel has frescoes Stories of the Virgin and the Girdle, striking figurative cycle unit, painted between 1392 and 1395 by Agnolo Gaddi. Especially successful is the view of Prato in Return of Miguel, who first took the relic to the city.
The altar of the eighteenth century, with reliefs of Emilio Greco, enclosing the Girdle, and is crowned by the Virgin and Child (about 1301) of Giovanni Pisano.
The chapel is closed by a bronze cancel Maso di Bartolomeo, Pasquino da Montepulciano and others.